Eastwood has had his eye on “The Ballad of Richard Jewell” for some time, and was in talks to take on the project several years ago when it was at Fox before he eventually shifted his focus to another property. Following the success of his most recent drama, “The Mule,” the director began looking again for his next project and came back to “Richard Jewell,” which was now a part of Fox-Disney following the recent merger of the two studios.

There was a chance that the movie could have stayed at Fox-Disney, marking a reunion between Eastwood and Alan Horn, the current Disney Studios chief who worked with the filmmaker when he was the head of Warner Bros.

The live-action “Sonic the Hedgehog” movie has been pushed back so that the visual effects artists can make adjustments to Sonic’s character, the film’s director Jeff Fowler announced on Twitter Friday.

It will now open Feb. 14, 2020 after being originally slated to be released Nov. 8 of this year.

Fans of the video game character were highly critical of the speedy blue hedgehog’s fur, his eyes, and most notably his human-looking teeth.

“Taking a little more time to make Sonic just right,” Fowler tweeted along with the hashtag “No VFX artists were harmed in the making of this movie.”

Sonic, as seen in the first trailer for the film, has individual strands of animated fur, a giant head, long, lanky legs, two far apart eyes that drastically differ from the classic mono-eye drawing of the video game character, and even human teeth.

“A Quiet Place” grossed $340 million at the global box office last year. Blunt won the Screen Actors Guild Award in the supporting actress category for her role in the horror-thriller. Krasinski also wrote the screenplay with Bryan Woods and Scott Beck, and the trio received a Writers Guild nomination in the original category.

Krasinski directed and starred in the story of an isolated family of four that must live in silence while hiding from creatures that hunt by sound. “A Quiet Place” premiered at SXSW and the 2020 edition of the festival launches on March 16, four days before the sequel opens.

When he moved to Hollywood, the writer made a decision to think his way into the minds of characters who weren’t white and male

I’m in a huge, fake cavern in a huge, empty warehouse in the huge, boiling New Mexico desert. I’m part of a film crew shooting the climactic scene of the first Us film I’ve written, Corporate Animals. It’s a comedy about a group of co-workers who go caving on a team-building trip and end up trapped underground with no food or water.

The crew has downed tools as the actors, producers and director perch uncomfortably on polystyrene rocks. We’ve stopped to have an impassioned debate over racial politics – specifically over how much racism is too much to put in one character’s mouth. The debate revolves around where the line is, between something that is provocative and shocking enough to make the drama work,

The Cannes Market, the Cannes Film Festival’s commercial wing, says that its 2019 edition welcomed a record number of participants. It reported 12,527 attendees.

The largest group by nationality was from the U.S. with 2,264 participants, followed by France with 1,943 participants, and the U.K. 1,145. Comparable figures for 2018 were not available.

The number from Europe grew by +4%, to 7,076 participants. The number from Africa showed the largest increase, up 22%, to 175 participants. First-time delegates came from Cameroon, Ethiopia, Rwanda, Sudan and Tanzania.

The Village International hosted 56 pavilions from 96 countries. Newcomers included Ecuador, Poland, countries from Africa and The Great Silk Road.

There were 857 films screened this year (of which 693 premieres) with a total of almost 1,464 screenings. According to the market organizers, rights to 2,768 films were on sale, including 332 documentaries. Cannes Xr offered a curated selection of 52 Vr films, resulting in 4,741 viewings.

But originally, the actor turned down “Alien,” which celebrates its 40th anniversary on May 25, though he thought Dan O’Bannon’s script read well. “There was nobody involved at the time apparently,” said Skerritt. “I read it and thought, ‘it’s solid. It’s not a great script but it’s solid enough I can see it. But it was a $2 million budget! I thought, okay at 2 million bucks this might be an Ed Wood movie.”

As fate would have it, he went to see 1977’s “The Duelists,” for which Ridley Scott unanimously received the award for best first work at the Cannes Film Festival. “I was just blown over by ‘The Duelists,’” noted Skerritt.

In new documentary Woodstock: Three Days That Defined a Generation, the defining festival gets a closer look with never-before-heard insight

Early in the planning of Woodstock, 50 years ago this year, co-founder Joel Rosenmann had a hunch that he and his team were on to what would soon become a cultural touchstone. “I think it came in stages for me,” Rosenmann tells the Guardian, looking back at the three-day event in which wound up defining a generation. “We weren’t thinking if it would become legendary or not, but from the beginning we knew we had something extraordinary. When the crowd started coming in, our estimates had been blow away.”

Related: From Billie Eilish to Hall & Oates: the best Us summer festival lineups

Good news from Cannes for anyone who went off Quentin Tarantino when he started making westerns and war films: the director has gone back to his Pulp Fiction roots with Once Upon a Time … in Hollywood, a terrific 1960s-set drama starring Brad Pitt and Leonardo DiCaprio.

Cinematographer Claudio Miranda, who won an Oscar for his imagery of magical realism on Ang Lee’s 2103 “Life of Pi,” will be honored with the Visionary Achievement Award at Cine Gear Expo, the artisans-oriented trade show and conference that will take place at the Paramount lot from May 30 through June 2.

A pioneer in digital filmmaking, Miranda has embraced the latest technology to capture some of the big screen’s most groundbreaking images. He shot the first entirely digital feature, David Fincher’s “The Curious Case of Benjamin Button” (2008), for which he earned multiple best cinematography nominations.

Miranda’s use enhanced environment Led technology gave life to ultra-real lighting and otherworldly vistas to such films as “Oblivion” (2013) and “Tomorrowland” (2015).

It is 1978 in the City of Angels and the hard-drinking washed-up sleuth Carson Phillips is having another boozy day through its atmospheric streets. There is a hint of innate coolness and self-deprecation in his elongated voiceover intro — you might even briefly mistake Carson, played by a one-note John Travolta, for a Philip Marlowe or Jake Gittes type. But “The Poison Rose,” an astonishingly listless neo-noir wannabe from director George Gallo (writer of 1988’s “Midnight Run”), is not the deliberately poor “Chinatown” imitation it starts off as — that could have been perversely daring, maybe even somewhat entertaining. It in fact becomes something a lot worse, when Carson heads to Galveston, Texas, in search of a missing person, at which point, viewers are taken hostage by this mix of mysterious exes, confusing accents, and desperately labored plotting.

It all starts promisingly enough, with an attractive femme dressed in a seductive pose and

Most of us, in our romantic lives, meditate here and there on the other roads we might have traveled, and movies are uniquely equipped to channel those alternate-universe-of-love possibilities. That’s the idea at the (broken) heart of “Casablanca.” And the fantasy of getting to see the turns your life didn’t take play out right in front of you underlies such disparate movies as “Sliding Doors,” “Eternal Sunshine of the Spotless Mind,” and “La La Land.” “Chambre 212,” the new film from the writer-director Christophe Honoré, treats that fantasy in a way that’s original but oddly familiar, turning it into a gentle surrealist bedroom farce. But at first we think we’re watching a movie that could have been called “Memoirs of a Cougar.”

Chiara Mastroianni, with flaming red hair and a wide killer smile that gives her the look of a Gallic Rene Russo, plays Maria, who likes her men young,

“I made Netflix spend all this money on this movie just so that, as a 37-year-old mother of two, I could kiss Daniel Dae Kim and Keanu Reeves,” Ali Wong cracked to Variety at the premiere for her upcoming romantic comedy “Always Be My Maybe.” Her co-star and the third piece to this romantic quadrangle, Randall Park commended her, saying “She’s a genius.”

Wong and Park co-wrote and star in “Always Be My Maybe,” playing Sasha and Marcus, childhood friends who hook up in their teens, but have a falling out and lose touch for 15 years. Sasha goes on to become a successful chef in Los Angeles and is engaged to restauranteur Brandon Choi (Daniel Dae Kim), while Marcus is a struggling musician living at home with his dad. The two reconnect when Sasha returns home to San Francisco to open a new restaurant, and it’s not long

Galifianakis made the announcement during a Netflix awards event with David Letterman on Thursday night. Galifianakis co-wrote the movie with Scott Aukerman, who’s directing the film.

Aukerman was the director of 14 of the 21 episodes of the talk show, which began in 2008 with an interview with Michael Cera. The most recent “Between Two Ferns” aired in 2018 with Jerry Seinfeld, Wayne Knight and Cardi B.

Aukerman and Galifianakis are producing with Funny or Die’s Caitlin Daley and Mike Farah. The logline involves the comedian and his crew taking a road trip to complete a series of high-profile celebrity interviews and restore his reputation.

Our watch may be over when it comes to HBO’s Game of Thrones, but I have a feeling it’ll be a long time before we’re done talking about this show. In today’s quick round-up: a new poll might reframe the conversation around last Sunday’s series finale, actress Gwendoline Christie is “pathetically thrilled” that she correctly […]

The post ‘Game of Thrones’ Round-Up: Most Fans Liked the Finale, Gwendoline Christie Reacts to Correctly Predicting the Ending, and George R.R. Martin Sets a ‘Winds of Winter’ Deadline appeared first on /Film.

James Gunn is using his clout in Hollywood to get more original horror movies made. He produced The Belko Experiments from his own screenplay, and now he’s produced Brightburn, written by his brothers Brian and Mark Gunn and directed by Dave Yarovesky. Brightburn is the story of a childless couple (Elizabeth Banks and David Denman) […]

The post ‘Brightburn’ Screenwriters on the Scenes They Cut and a Larger Superhero Horror Universe [Interview] appeared first on /Film.

Star Wars: Galaxy’s Edge opens next week in Disneyland, so the DisneyParks website has released the official first look at the new expansion’s guidemap to help visitors plan out their first trip. Not pictured: a visual representation of the hordes of guests that will be crowding the land for the foreseeable future. But in an […]

The post Star Wars: Galaxy’s Edge Guide Map Revealed, Original Soarin’ Returning to Disneyland appeared first on /Film.

Ivanov plays a corrupt police inspector in Bucharest who has been sent to the island of La Gomera in the Canaries to learn the ancient whistling language to pull off a high-stakes heist.

“‘The Whistlers’ is an incredible gush of pure entertainment,” said Magnolia president Eamonn Bowles. “Corneliu Porumboiu has been making brilliant films for the last few years and he has outdone himself with his most crowd-pleasing work yet.”

Porumboiu’s 2006 feature “12:08 East of Bucharest” won the Caméra d’Or prize at the Cannes Film Festival. His 2015 film

Call Naomi Scott the queen of the reboot – or at least, the princess. The 26-year-old actress is taking on the role of Princess Jasmine in Disney’s live-action remake of “Aladdin,” but it’s not her first time jumping into a role that’s already been well-established. Audiences may recognize Scott from 2017’s “Power Rangers” update, where she played Kimberly, the Pink Ranger. Next, fans will see her as Elena in “Charlie’s Angels.” But for now, Scott is only focused on “Aladdin.”

“We’re all just so ready for this movie to come out; it’s been two years,” Scott told Variety on the purple carpet at the film’s premiere. “There was so much joy and love and thought that went into this movie and hopefully that translates on screen.”

Playing a role like Princess Jasmine is already a pretty big task, but the actress had another challenge

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